Patrick Tuttofuoco | Pretty Good Privacy curated by Nicola Ricciardi @ Milano

From: [name is obscured]
To: [name is obscured]
Subject: Patrick Tuttofuoco @ Federica Schiavo
Text: see attached, ciao

Attachment #1
Press clipping: Steven Levy, “CRYPTO REBELS”, Wired, January 1993. 
The following sentences are underlined in the article:
- In short, there is a war going on between those who would liberate crypto and those who would suppress it.
- The outcome of this struggle may determine the amount of freedom our society will grant us in the 21st century.

Attachment #2
Press clipping: Lynn Barber, “Sci-Fi Seer. An interview with J.G Ballard”, Penthouse Magazine, Vol. 5 No. 5 (pp. 26-30) 1970.
The following sentence is underlined in the article:
- People have annexed the future into the present, just as they’ve annexed the past into the present. Now we have the future and the past all rolled into the present.

Attachment #3
Video clip: goodlaugh182. “Silicon Valley, TechCrunch Disrupt Parody”. YouTube video, 01:49. Posted 25.05.2014.
Audio transcription, min 00:32-00:47:
- [speaker 1] “we’re making the world a better place through Paxos algorithms for consensus protocols.” 
- [speaker 2] “and we’re making the world a better place through software defined data center for cloud computing”
- [speaker 3] “a better place, through canonical data models to communicate between endpoints”
- [speaker 4] “a better place”

Attachment #4
Image: Schermata 2016-06-20 alle 23.49.16.png
Screenshot of email conversation. Sender and receiver unknown. Whole text is obscured with the exception of the following sentence:
- This frantic need to make the world a better place without ever actually physically touching it… well, it makes me dizzy, and I think the show has a lot to do with that... anyway, I’ve finished this nonsense full of typos, now ready to release the moorings of the sleep boat...

Attachment #5
Microsoft Word document: Curatorial statement.txt

During TED talks or at any TechCrunch, in coffee shops around Menlo Park as well as in meetups across Berlin, people tend not to talk about the Past. Just as old hardware is regularly tossed and replaced, for those living and working in the tech world the software of History is constantly asking for a reboot. This endless upgrade reminder promises a Future that is always and necessarily better than the Present. It’s a perpetual acceleration, but an illusory movement as well—like that of Achilles against the turtle. The Past is never really past, because there’s no time to historicize it: it is continuously absorbed and reworked by the Present; and the Future is never really futuristic because it is an integral part of the Present: tomorrow is today, we read everywhere. There are two major kinds of consequences: on the one hand, concerns that were presented as up-to-date twenty-five years go, such as online privacy or data encryption, are reported as uncharted territories, brand-new issues, by the mainstream media today; on the other hand, whenever the tech world advertises a promising future within reach, at that precise moment our chances to grab it are denied by the same industry: can’t you see, they say, that there is another even more desirable scenario only one Amazon-click away? There is nothing physical or tangible in this onward movement. Nor there is in the rhetoric that accompanies it. The complex systems, infrastructures and the social networks that originate in Silicon Valley—and that end up shaping our common lives in the Western world—are caught between the anvil of a Past in constant evaporation and the hammer of a Future that remains forever immaterial. The encounter of the two inevitably produces a Present that is as evanescent as a cloud of gas.

The subject (although it would be more appropriate to say the landscape) of the new cycle of sculptures by Patrick Tuttofuoco is precisely that—the gassy state of our present lives. The series is also the synthesis of an artistic research began almost five years ago in Milan, the artist’s birthplace. Yet again, the historical dimension, evoked by the medium and the location of the exhibition, mixes and mingles with a forward-looking perspective, represented by the new gallery, which will be representing the artist from this occasion on. In relation to these sculptures, as well as in relation to Tuttofuoco’s artistic trajectory, History is not a linear object in straight-line motion, but rather a gaseous mist carried back and forth by the wind.

Nicola Ricciardi